Film songs based on classical ragas 2 A date with Yaman. Guest article by Subodh AgrawalSubodh Agrawals second article in this series has been a long time in coming. I am responsible for part of the delay as it came when I had scheduled my post on the Best songs of 1. But when you read it you would agree it has been well worth the wait. Subodh bears his scholarship lightly, and writes in a style as lucid and fluent as the Raga Yaman itself. Here is his piece on one of the most popular ragas which would delight both connoisseurs as well as lay listeners. AKI have never understood why Yaman is the first raga to be taught to students. Yes, it does have a simple structure in the sense that it has no komal svaras, but its simplicity is deceptive. Creating beauty in Yaman requires a high level of skill and sensitivity. It sounds bland and pedestrian in the hands of a novice or an artist of average capability. There is, however, no limit to the heights it can attain in the hands of a master. 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The National Film Award for Best Music Direction the Silver Lotus Award is an honour presented annually at the National Film Awards by the Directorate of Film. No wonder it is one of the favourite ragas of our film industrys composers, some of whom Roshan for example have given their best in this raga. Yaman and Kalyan are two different names of the same raga. Yaman Kalyan, interestingly, is slightly different, as it uses shuddha madhyam occasionally along with the teevra madhyam of Yaman. The difference is not much, and in this article I would use Yaman to mean both Yaman and Yaman Kalyan. The predominant mood of Yaman is tranquility shant rasa. Another great raga Malkauns is also known for evoking shant rasa, but there is an important difference between the two. The tranquility of Malkauns has a Yogic, meditative quality about it. Yamans serenity is much closer to everyday life. It evokes the kind of peace one feels when one is happy at home and with family, in the company of friends, watching a beautiful sunset, or doing something one enjoys. The shant rasa of Yaman combines well with bhakti rasa. The Kannada people known as the Kannadigas and Kannadigaru, sometimes referred to in English as Canarese, are the people who natively speak Kannada. Kannadigas are. Unnadhi Okkate Okka Zindagi Mp3 Songs Free Download Free download with simple and easy one click mouse and your free mp3 is ready to play. It is an ideal raga for devotional compositions. Let me therefore begin with one of the best known works of Roshan, Man re tu kahe na dheer dhare, from the film Chitralekha. A few years back Outlook magazine had polled some leading music personalities to come up with a list of twenty all time great songs from films, and this song topped that list. I wouldnt quite go that far, but there is no doubt that this is one of the great songs of Hindi films. Mohammad Rafi sings Man re tu kahe na dheer dhare from Chitralekha 1. Sahir Ludhiyanvi, music Roshan. Because of its capacity of combining bhakti and shant rasa, Yaman is ideal for recitation of Sanskrit slokas. You can get a flavor of what this raga can do in this recitation of Bhagvad Gita by the incomparable Lata Mangeshkarhttp www. Another devotional masterpiece from Lata in Yaman is the Meera bhajan Kinu sang khelun holi set to music by her brother Hridaynath Mangeshkar Lata Mangeshkar sings Meera bhajan Kinu sang khelun holi. I have commented above on the kind of everyday serenity Yaman evokes. There can be no better illustration of this than this song one of my all time favourites from Bhabhi ki Chudiyan by Lata Mangeshkar, set to music by Sudhir Phadke. Apart from shant and bhakti rasa, this song also has a mood of joy. I sometimes wonder if the list of nine rasas is incomplete without a tenth ananda rasa. If we could add this rasa then I would analyse Yamans mood as 4. Lau lagati geet gati deep hun main by Lata Mangeshkar from Bhabhi Ki Chhdiyan 1. Narendra Sharma, music Sudhir Phadke. I would now like to present two versions of the same bhajan by two great artists Kishori Amonkar and Shobha Gurtu. Kishori Amonkars version is sweeter and classically orthodox. Shobha Gurtu, on the other hand, creates a different kind of impact in her powerful voice with a shehnai like timbre. In the comments on Youtube, there is some needless controversy as to which of the two is better. I think they are both beautiful in their own right. Kishori Amonkar sings Mharo pranam in Raga Yaman. Shobha Gurtu sings Mharo pranam in Raga Yaman. Lets move on, and add another rasa to the mix of shant and bhaktirasas shringar. This song from Mamta by Roshan raises love to the level of worship. Roshan has surpassed himself in composing this, while Hemant and Lata have rendered it with feeling. Ashok Kumar and Suchitra Sens restrained acting superbly completes the picture. An NRI friend of mine commented that Ashok Kumar would win an Oscar hands down for the opening scene in which he covers his eyes with dark glasses and puffs on his cigarette. I would gladly nominate this song for the title of the all time greatest love duet from films. My nominees for the male and female solos on love would be Jalte hain jiske liye and Tum apna ranj o gham. Chhupa lo yun dil mein pyar meraby Hemant Kumar and Lata Mangeshkar from. Mamta 1. 96. 6, lyrics Majrooh Sultanpuri, music  Roshan. At this stage I would like to introduce a regular classical piece. Bismillah Khan has taken an extremely simple composition. You cant get simpler than ni re ga re ni re sa ni dha ni re sa in Yaman. It takes the genius of Bismillah Khan to keep it from sinking into ordinariness. It is an excellent introductory piece for learners of classical music. Raga Yaman by Bismillah Khan. I would not normally associate Yaman with karun rasa. However, trust Indian film music directors and Mukesh to evoke pathos even in this raga. I recall with amusement that for some unfathomable reason Mukeshs song Ansoo bhari hain yeh jeevan ki raahen in Yaman was very popular with boys of my age when I was a University student. I myself used to sing it with great feeling. An aunt of mine, who otherwise encouraged me to sing, told me in no uncertain terms to refrain from singing this song, as she had had enough of it More than forty years later I dont have any lingering fondness for this song. However, I still hold another Mukesh song Saranga teri yaad mein in the same raga in high esteem. I am not posting it here because AK has already done that in his excellent post on Sardar Malik. Let me get out of this foray into karun rasa by presenting a classical piece by the great Pannalal Ghosh, which would restore the mood of joyful tranquility more suited to Yaman. When I listen to this piece it evokes the image of a beautiful sunset across a gently flowing river. Sunsets can make you happy or sad. Yaman goes with happiness another beautiful raga Marwa with sadness. Here is the Yaman piece Raga Yaman by Pannalal Ghosh. Back to shringar rasa. Two great songs come readily to my mind Zindagi bhar nahi bhoolegi yeh barsaat ke raat and Abhi na jaao chhod kar. I am opting for the latter, as it has a nice teasing quality. In a TV program Javed Akhtar called it his favourite romantic song. Abhi na jaao chhod karby Rafi and Asha Bhoslefrom. Hum Dono 1. 96. 1, lyrics Sahir Ludhiyanvi, music Jaidev. My next classical piece is by Sanjeev Abhyankar. The interesting thing about this piece is use of the flute as an accompaniment. It sounds like a duet between the singer and the flute Sanjeev Abhayankar sings Raga Yaman. Apart from devotional compositions, Yaman also excels in ghazals. Several beautiful pieces spring to mind. 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